The Singing Butler, c.1992 Fine Art Print by Jack Vettriano at FulcrumGallery.com The Singing Butler Inches Deep: Inches Wide: "The Singing Butler" is Europe's best selling print, easily outselling even the likes of Monet's "Water Lilies." Vettriano has admitted to using a book, 'The Illustrator's Figure Reference Manual' as reference to create this masterpiece, using a then unknown pose by the struggling Irish actress, Orla Brady for the 'lady in red.' But this controversy seems to have only helped, not hindered the popularity of the print and its artist. Vettriano, a self taught artist, is unashamed of his use of the book and he is so popular that in certain circles, he has even been dubbed "The People's Painter." No Questions Asked Return Policy: We're convinced that you will be more than happy with the quality of your artwork when it arrives. All of our products, including custom framed art, have a 30 day, no questions asked, return policy.

If you are not satisfied with your purchase for any reason, you may return it to us within 30 days of receipt for a full refund or replacement, less shipping charges. Jack Vettriano reveals the dark side that has made him our most controversial artist | Daily Mail Online comments He has so far sold an estimated 12 million posters of all his works worldwide. Forty of his images are currently available in a variety of published formats Fetish, 1998: ‘This painting is quite dear to me. All men have codes. Certain things they like. Find the code and you can crack the man. This is me in the painting. The suspenders have got to be vintage. If you give me suspenders that aren’t real, I’m not playing,’ said Jack Vettriano 'My first solo exhibition was described as pornographic. The day it opened, Edinburgh was in gridlock. People were climbing in toilet windows, desperate to see what all the fuss was about.’ Jack Vettriano’s work is a magnet for controversy. For the likes of Jack Nicholson and Sir Alex Ferguson, both of whom own some of his racier paintings, the appeal is surely his relatively safe exploration of sexuality.

Safe, but edgy and a little risqué. ‘It’s a huge draw. My feeling is that they want to step into the painting so long as they feel they can step out again. They don’t want to be stuck in that world.’ Surprisingly it is not his erotic works that Vettriano is best known for. The Singing Butler, with a butler holding an umbrella over a dancing couple on a windswept beach, is one of Britain’s most popular paintings. When it was auctioned in 2004 for just under £750,000, it became the most expensive painting by a Scottish artist. The Singing Butler, 1992: ‘On a good day I’m very proud of it. I won’t start singing Congratulations here, but I think if something is popular it has to have something going for it. The Singing Butler shoved my prices right up. Till then a big painting of mine would fetch £2000 to £3000' Not so impressive compared to Damien Hirst, who has made more than £300 million from his art, but Vettriano’s images have made him a very wealthy man.

What sets Vettriano apart from other British artists are sales of reproductions; his images adorn endless posters and postcards and are as iconic as the 1980s Athena poster of a hunky man cradling a baby. Although he sold the original Singing Butler privately for just £3,500, and received no royalties when it was auctioned in 2004, he has so far sold an estimated 12 million posters of all his works worldwide. 'I'm scared of being called an old pervert. I won't deny I'm fascinated by women,' said Jack Vettriano Forty of his images are currently available in a variety of published formats, but most royalties come from The Singing Butler and Dance Me To the End of Love. Bathed in nostalgia for the glamour of the 1940s and 50s, they earn him an annual six-figure sum. But one of Scotland’s most successful artists, awarded an OBE in 2003 for services to the visual arts, has a darker, dangerous side. People might be familiar with his romantic beach paintings.

But while many pictures have benign titles lifted from Leonard Cohen or Johnny Cash songs, they are inspired by visits to prostitutes, and Vettriano’s own obsession with sex. I meet Vettriano, 61, in his Marylebone gallery in London. He wears an off-white T-shirt, expensive-looking jeans, brown boots, a dark blue jacket, a few days stubble and dark yellow glasses: part Andy Warhol, part Damien Hirst. He talks so quietly I have to lean in to hear. Sometimes I wish I hadn’t. He likes nothing better than discussing sex and is so matter of fact it’s hard to tell if he’s testing or teasing me. Most of his observations can’t be printed, but he isn’t threatening. Rather, he expects everyone to be as obsessed by sex as he is. ‘When the composer Ennio Morricone was asked about the three things that drove him, he said: “My heart, my head and my balls.” Those are the three things that drive a man,’ he smiles as he explains himself. ‘I grew up in the Methil Docks in Fife. There was a particular hotel where the prostitutes used to work. I was always fascinated by them.

I used to visit a sauna in Edinburgh too. I took photos of some of the girls who worked there and later did paintings of them. Enlarge Night Geometry II, 1996: ‘I got that title from a book by AL Kennedy. I know Alison quite well. She writes about how when you’re in bed with somebody you tuck your knees under theirs and caress their backs, making geometric shapes. Only in my painting they’re standing up. Jack Nicholson bought it’ ‘I always take photos of my subjects. I’ve never been to art school and the one time I tried to paint a woman while she posed I realised I didn’t have any confidence – I used to give my work away quite regularly back before it was worth more. 'I produced a lot of work then. He waves his arms at the paintings on the gallery walls. ‘Prostitute… Not prostitute… Prostitute.’ He is not the first artist to use prostitutes in his work. Manet, intent upon capturing modern life, painted French ladies of the night in the 1860s. Edgar Degas won notoriety for his own paintings of prostitutes. The Scots artist’s women are never naked.

Rather Vettriano paints a suspender or a high heel or a woman in an oversized man’s uniform. The subject matter has won him some famous fans. ‘Jack Nicholson appeared early on,’ says Vettriano. ‘I’ve never met him, but if you saw the paintings he bought, you’d say: “That’s Jack!” Two very sexy ones and two that are just a wee bit nostalgic. One of the sexy ones he’s got is Dancer for Money, after the Tina Turner song (Private Dancer).’ Vettriano may never have met Nicholson, but he has dined with another of his buyers, Sir Alex Ferguson. Dance Me To The End Of Love, 1998: 'I love playing around with lyrics when I’m thinking of titles. Dance Me To The End Of Love is a Leonard Cohen song. When I first did the painting I had the couples dancing across the canvas from left to right, but then I changed it and had them dancing away from each other into the distance' ‘I’ve a place in Nice and he goes to a place not far from me so we had dinner. He’s astonishingly likeable. Great company. But I knew we couldn’t speak about art or books.

'We had to speak about football. No disrespect to him. It’s just the man he is. He’s football through and through. I did ask him for a signed Wayne Rooney shirt, but the b****** never sent it to me!’ Maybe Ferguson, famed for giving players a frank assessment of their limitations, could have given the artist some tips on coping with criticism; despite his commercial success, the artist has been regularly ‘hairdryered’ by the art establishment. ‘One of them in Scotland said all I do is colour in. Another said I paint by numbers.’ It must hurt, but Vettriano points out that such attacks have always pulled the crowds. He is upbeat today, but struggles with shifts in mood. ‘I suffer severe melancholia. Mainly because of the press. In 1998 I was accused of stalking a woman in Edinburgh. The police brought no charges, but I was devastated. 'My doctor said I was depressed and gave me pills. I took them for a few years before chucking them. They ruined my sex life...’ Along Came A Spider, 2004: ‘I was watching breakfast TV and crime author James Patterson was on. He calls his books after nursery rhymes.

I had the title Along Came A Spider in my head. I’ve been in social situations where you know when the spider has arrived. You sense a girl coming in and think they’re great news but also bad news’ He often places himself in paintings, most regularly as the man lusting after the woman in stockings and suspenders, but Vettriano is wary of how he’s seen. ‘I’m scared of being called an old pervert. I won’t deny I’m fascinated by women and the fact they don’t know the power they’ve got.’ He does have a bad boy reputation. In February last year he was arrested in Kirkcaldy, Fife for drink driving and carrying amphetamine, and banned from driving for 18 months. ‘I’ve a very low alcohol threshold,’ he shrugs. ‘I’d been painting since early morning. I hadn’t eaten. I should’ve phoned the chip shop and they would’ve delivered a fish supper. I know it was wrong.’ Later this month, the people’s painter will defy those critics with the ultimate accolade, as the first major retrospective of his work opens at Glasgow’s Kelvingrove Art Gallery. Vettriano, inevitably, feels misunderstood.

He is exceptionally pleased, then, about the accolade. When he first exhibited in the early 1990s his work sold for no more than £3,000. Now his paintings cost from £25,000 to £125,000. ‘I don’t agree popularity means trash. Enlarge The Weight, 2009: 'I get melancholic from time to time. I think that creative people simply do. The more questions you ask of yourself, the deeper s*** you get yourself into. When I was young, I never asked myself why. You just accept this is your lot' 'Even van Gogh would have sold reproductions to the working man for 20 francs. But the critics don’t think of my work as art. They think of it as top shelf stuff. ’They tend, in fact, to have more of a go at his style. One called his pictures ‘emotionally trite and technically drab’, another said he was ‘repetitive, limited and soulless.’ The fact Vettriano is self taught is part of the issue.

He didn’t pick up his first paint brush till he was in his early 20s and then taught himself by obsessively copying Monet, Caravaggio and photos. Most infamously, he copied poses from an artists’ reference manual. It emerged as the inspiration for The Singing Butler. He doesn’t help his reputation when he talks about learning to paint. ‘I was rejected by Edinburgh College of Art. It was the best thing that happened. I’d never have done my own thing if I’d been to college. I didn’t know I was teaching myself to paint. Sir Alex Ferguson (left) owns Along Came A Spider and Jack Nicholson (right) bought Night Geometry II 'I was just doing it as a hobby. All I did was copy. I’ve copied everyone. I like to think if you take all these (famous) artists and put them in a cauldron and stir it, Jack Vettriano comes out when you pour... ‘I didn’t expect a retrospective in my lifetime. One critic said I’m welcome to paint so long as nobody takes it seriously.’ Vettriano sighs, then smiles. ‘The paradox is by writing about me my critics made me controversial...

I’m not!’ He waves his arms around at his paintings again. ‘There’s nothing controversial here. It’s not soft porn!’ He stands and shakes my hand. ‘It’s quite cathartic to have talked to you. I would’ve paid my therapist £200 for this; you’ve done it free.’ And before I can think of an answer, he is gone. Jack Vettriano: A Retrospective runs from September 21, 2013 to February 23, 2014 glasgowlife.org.uk The Singing Butler” by Jack Vettriano (1992) Home / Paintings / Reproductions / The Singing Butler” by Jack Vettriano (1992) The Singing Butler” by Jack Vettriano (1992) (ru) Виктор Михайлович Васнецов – Три царевны подземного царства (1879) (ru) Микеланджело да Караваджо – Мария Магдалина.

Деталь: жемчужины (1594 – 1596) Следующая запись: Vincent Willem van Gogh: Self-portrait with his ear cut off (1889... 11140 Роман %A %B %e%q, %Y in %I:%M %p · Ответить → Взял на подарок. Друг доволен, повесил на почетном месте, а жена ругается-лучше б себе оставил) Оставить комментарий The Singing Butler” by Jack Vett...

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 Singing Butler” by Jack Vettriano (1992) Подобрать багет для картины (демо): The Singing Butler” by Jack Vettriano (1992) id706 Is Painter Jack Vettriano’s Work Brainless Erotica, or Bona Fide Art?

| Vanity Fair Twitter PAINT BY BIG NUMBERS Jack Vettriano contemplates his 1992 painting The Singing Butler at the Aberdeen Art Gallery, in Scotland. The woman’s feet are bare, though her arms are covered in opera-length gloves. She turns away from us, displaying a shapely back, draped in a slim red ball gown. Her right hip tilts toward her male partner, attired in a tuxedo and evening pumps. The well-dressed couple seems to have escaped from a party, or formed a two-person one of their own, as they are dancing, incongruously, on a beach, whose smooth wet sand reflects her toes and his trousers. The horizon is low and the sky foggy. As this setting is apparently somewhere in the British Isles, the glamorous pair is not alone. They are attended by two retainers, a maid for her and a butler for him, each of whom protectively holds an umbrella aloft against the threatening weather. The scene possibly violates the classical unity of time; the servants’ uniforms seem anachronistic, but the woman’s tall, trim body type is contemporary.

In some areas (the sand’s mica-smooth reflections) the painting is slickly illusionistic, though in others (the man’s profile) it is more unevenly executed. The painting also manages to be both conventionally anecdotal (there’s a story unfolding) and enigmatic (but what is it?). Somehow The Singing Butler, a 28-inch-by-36-inch canvas painted in 1992 by Jack Vettriano, became to turn-of-this-century Great Britain something like what Grant Wood’s American Gothic was to the United States a generation ago—a ubiquitous, archetypal, homegrown image onto which every variety of aspiration, emotion, or conviction has been projected. Playwrights have mailed the artist scripts based on imaginary dramas among the figures. Soldiers have written to say that his picture helped get them through the Iraq war. Bereaved families have proclaimed that the painting has consoled them in their grief. Vettriano even received a letter from a man convinced that he had found in the tailcoated, faceless butler the likeness of a long-lost friend. Most experts are baffled by *The Singing Butler’*s wraparound demographic appeal.

“Frankly, I don’t get it,” says art historian Kenneth Silver. The London Evening Standard’s contemporary-art critic Ben Luke suggests that the work might tap into a “nostalgia for an age, probably sometime between the 30s and 50s, when men and women behaved and dressed in certain defined ways.” Vettriano says he made The Singing Butler simply because early on in his career a woman remarked that he was “good at painting beaches,” and because “people in love usually go to the beach.” (If *Butler’*s beach represents a real place, it would probably be the rather gritty shore of Leven, Scotland, which Vettriano frequented as a boy.) Vettriano flanked the couple with servants, he says, “to make the picture more balanced. It’s an uplifting fantasy, and it makes people feel good.” As it turned out, the picture is something of an anomaly in the oeuvre of Vettriano, who doesn’t particularly believe in monogamous romance, and who generally makes do without liveried servants.

In both his real life and his art, Vettriano, now 60, is much more attracted to darker moods and palettes and to themes and individuals of a more louche nature. In fact, Vettriano, anointed “the people’s painter” by the British press, is a man in full command of his fetishes, and he doesn’t mind sharing them with the world. He likes tough, voluptuous Ava Gardner-style brunettes: “Blondes,” he says, “have too much sweetness.” He favors earlobes and necks over the standard T&A. “I’ve painted maybe three or four breasts in my life,” he notes. He is morbidly fixated on lips and nails, lacquered a glossy blood red, and on eyelashes heavily coated with mascara. “I once tried applying it on a girl myself, but my hand was shaking—I got too excited.” Stilettos are required (he bid at auction on a pair of Marilyn Monroe’s), as are garters and some form of corsetry (as his Devotion and The Perfectionist make abundantly clear).

“Every woman who knows me knows I will give them underwear for Christmas, and it won’t be conventional,” Vettriano advises. He has fixed ideas about stockings too; hosiery (as seen in Dancer for Money and countless other pictures) must be sheer black and fully fashioned with wide thigh tops, retro back seams, and reinforced heels. Fortunately for collectors—from Jack Nicholson and Tim Rice to Jackie Stewart—Vettriano’s distinctively autobiographical evocations of feminine sensuality have far more staying power than the one-night stands and paid assignations they often depict. They also come at a far higher price. The auction record for Vettriano, set, of course, by The Singing Butler, in 2004, is $1,340,640, and the artist has raked in huge sums annually for reproducing his signature work on notecards, calendars, jigsaw puzzles, and, as everyone in the U.K. has surely noticed, 12 million posters. *The Singing Butler’*s afterlife began in 1994, when he was approached by a publishing company called the Art Group.

“At first I took the high ground and said no,” Vettriano remembers. “But then I thought, Why shouldn’t my paintings be available to the common man for $10?” Recalls Sian Rees, the former creative director of the Art Group, who praises Vettriano’s sense of “escapism”: “No one predicted the response that Jack’s work created. How could we? It had never really happened before.” Nathalie Martin, Vettriano’s agent, says the response to Vettriano reproductions was “immediate and huge. Sales went through the roof and spread worldwide, very, very quickly.” Counter-intuitively, the more that Vettriano’s images wallpapered the world, the more the reprints sold, and the more the reproductions sold, the higher the prices climbed for the actual originals. Reflects Sian Rees, “The planets aligned, and those circumstances can never really be contrived again.” The income from mass-market Vettriano paraphernalia has been sufficient to finance a Knightsbridge apartment, a studio in Nice—where the sun and women inspire him as they did Matisse before him—and a racehorse, named (naturally) the Singing Butler.

Explained Sir Terence Conran, who commissioned a set of sleek automotive-themed compositions for his Bluebird restaurant (they also sell well as reproductions), in Chelsea, “There is a terrific frisson in many of his paintings.” For Vettriano, an autodidactic ex-coal miner with a Fat Bastard brogue, his current fame and fortune are part serendipitous lark, part revenge fantasy. He picked up his first paintbrush at 22, training himself by obsessively copying Monet, Caravaggio, photos, ads, “anything I could get my hands on.” Most infamously, he copied poses directly from the Illustrator’s Figure Reference Manual—the sourcebook, it emerged, for the dancing couple in The Singing Butler. Vettriano’s detractors considered this revelation, which made tabloid headlines in 2005, proof of artistic fraudulence. “I don’t give a fuck!” he retorts.

“Picasso said, ‘Other artists borrow—I steal.’ And the same book I used was found in Francis Bacon’s studio when he died.” When Vettriano-bashers are not accusing the painter of plagiarism, they are vilifying him for churning out, as Scottish art historian Duncan Macmillan phrased it, “dim erotica.” If anything, Vettriano says, his fans (including one adulterous duo who base their kinky encounters on his scenes) are “disappointed that the pictures aren’t pornographic enough.” All this is beside the point to Guardian critic Jonathan Jones, for whom Vettriano’s paintings are, as a group, “brainless”—and for whom Vettriano “is not even an artist.” At least Vettriano skeptics cannot accuse the prolific artist of sloth. “I like to look at a painting and see labor,” notes Vettriano, who usually works from photographs he himself has staged and shot.

His virtuoso effects of moisture and light on flesh, sand, hair, and metal, which often recall the look of vintage Hollywood movie posters or pulp-fiction covers, are accomplished by dragging a small stiff brush through semi-dried, still-tacky pigments—a technique he modestly likens to blending makeup. Not surprisingly, Vettriano venerates the Ruskinian craftsmanship of midcentury American pinup master Gil Elvgren and, “dare I say, Norman Rockwell.” For Vettriano the idea that his easel paintings, which cost between $48,000 and $195,000, are more accurately classified as illustrations is meaningless. “I don’t make a distinction between painting and illustration, and we shouldn’t get hung up on arguing the difference.” He is more acerbically opinionated about the conceptual approaches of such acquisitions-committee darlings as Damien Hirst and Jeff Koons, both of whose hands-off methods he considers “morally corrupt.” Vettriano’s rejection by the art establishment hurts—the National Gallery of his native Scotland too had snubbed him—but he has quietly taken matters into his own dexterous hands. “He has created his own little industry,” Ben Luke observes.

Not only has he founded a publishing company, which, taking over from the Art Group, generates copyrighted, Vettriano-brand catalogues, greeting cards, and prints, he has also helped establish a London gallery, named Heartbreak—a condition with which he is intimately familiar. “I chose the name because I work better when distraught or disappointed,” observes Vettriano, who has just curated his 20-year retrospective, to open in Glasgow next year. In addition to showing his own work, “the gallery will help promote edgy, younger artists”—at least those possessing a sexy, Vettriano-esque sensibility. “Showing landscapes and flowers doesn’t interest me.” But igniting a new Vettriano-fueled art movement just might. “I’m trying,” he explains, “to start a fire.” Proposes Ben Luke, “Vettriano has assembled his own worldview out of visual elements. And that is the right of all artists.” FROM THE ARCHIVE The Singing Butler | Vettriano Art Vettriano Jack prints vettriano posters and limited editions Scottish artist The Singing Butler 23 comments: Rashmi: Lovely lovely lovely work. I dared to copy this in charcoal.

Its amazing – the number of emotions that this painting evokes. Thanks! February 28th, 2010 at 13:58 Dianna: I agree, it is a lovely. I liked it so much that I suggested my brother inlaw have a copy for his master suite. I also have a copy of it in my living room. March 3rd, 2010 at 16:58 Martha Aquila: “Love your art” first introduced to your work on a “RCCL” Caribbean cruise, unfortunately, I am in an area of Pennsylvania that I have no access to your art work. Any info you can give me, so that I can purchase this wonderful art! thank you Martha, just use the links above and we will send you the art print you are looking for. Easyart ships to the whole world and with 10 years in the business we are the trusted source for Vettriano images!

March 22nd, 2010 at 17:29 vahri: your art is ****…….i could do much better, screw the £774,500 what its worth i can do just as good…….**** *** jack vettriano, you **** **** May 21st, 2010 at 15:19 Lisa: I love this piece. I bought it from a friend who had paid a pretty penny. I am getting Mad Dog to go with it. May 22nd, 2010 at 23:49 Artpassion: Vahri, Your insults and clearly uneducated spews have no place here nor are they welcome. Get a life! More credit should be given to a self-taught artist than a formally educated one. May 30th, 2010 at 07:07 Juraj Bartos : When I first saw this work, I was sure, that it was created back in thirties.

It has amazing, authentic atmosphere of that period, which is my favourite one, especially when I play back some music from that time or if I play it with my orchestra. Simply beautiful. Thank you. Juraj Bartos. June 1st, 2010 at 19:04 Martin2409: This is a quite stunning painting, which I fell in love with the first time I saw it. I have not yet acquired a copy but, all things being equal, it is “just around the corner” so to speak. I find it incredible that anybody could be so unjustifiably critical of such a piece of creative art. I am no expert in this field, but in truth I really don’t believe that I need to be in order to appreciate the full beauty of this painting. It tells a story and allows the imagination to run wild. Red is such an evocative colour, and which man amongst us would not wish to dance with a lady in red? 5 Stars for this. June 3rd, 2010 at 11:34 Clywd : This is a quite stunning painting, which I fell in love with the first time I saw it.

I have not yet acquired a copy but, all things being equal, it is “just around the corner” so to speak. I find it incredible that anybody could be so unjustifiably critical of such a piece of creative art. I am no expert in this field, but in truth I really don’t believe that I need to be in order to appreciate the full beauty of this painting. It tells a story and allows the imagination to run wild. Red is such an evocative colour, and which man amongst us would not wish to dance with a lady in red? 5 Stars for this. +1 June 21st, 2010 at 16:01 Traci: I am thrilled to find out all about this painting,as i have bought this print a couple of years ago.I wanted to buy it, from the store where I work ,but a customer got it before me.Of course I was heart broken,and then for reasons I do not know the very next day ,she brought it back!!

I bought it right away.It evocks the very romance of your heart, you feel the sand under feet,the wind as the approching storm whips through your clothing,you may dance,or you may hold tight to your umbrella.you can feel every peice of the painting that the artist wanted you to feel.When art sits you down and makes you stare,whatever genre,it can take you to a time, a place,a setting,that you may get lost in,even just for a few moments,that is what this painting does for me. July 23rd, 2010 at 03:36 anne: great work, all of your paintings, there’s so much emotion in it. love it !! July 27th, 2010 at 09:09 Lonnie: I really enjoy seeing your art work. I just became familliar with your work at a Goodwill store. When I first saw The Singing Butler painting it stood out and I knew I had to get it. Now that I’m a new commer to your art work I will continue searching for your paintings.

August 4th, 2010 at 06:14 Joan: Absolutely amazing !! a true classic. August 29th, 2010 at 21:24 Jeen: cause my lover likes it now I like all of ur paintings! November 14th, 2010 at 08:14 Great site, really enjoy this work. I recommend Easyart too, they offer good prints. November 23rd, 2010 at 21:02 dave: DMB THESE ARE A FEW OF MANY WORDS I CAN SAY TO DISCRIBE THIS AND MANY MORE OF YOUR PAINTINGS. THESE PAINTINGS CAPTIVATE AND DRAW YOU IN, BUT ONLY FOR THOSE WHO HAVE AN IMAGINATION TO LET THERE MIND FLOW FREE, THEY CAPTURE THE MOMENT, THEY ADD PLEASURE WITH SEDUCTIVENESS, INTRIGUE AND MYSTERY,AND YOU COULD WRITE A BOOK ON WHAT THESE PEOPLE IN THE PAINTINGS MIGHT BE THINKING.

NOT FORGETTING HOW MUCH PASSION IN YHIS WORK, GOOD LUCK TO A MAN THAT AS BROUGHT MUCH PLEASURE TO MANY PEOPLE December 16th, 2010 at 15:22 Cita: My husband gave me a copy in our wedding day. Loveeeeeee this picture is just absolutley unique. February 3rd, 2011 at 12:58 Jarrod: My Best Friend just gave me a copy of this for my Birthday. Its the 17th of november same as Jacks November 16th, 2011 at 23:00 Rick C. Harris : This great work erupts, undiluted the romantic emotions I feel for my beloved. I see a younger Josette & I if we had met earlier in life, dancing w/o regard to the storm or danger or others. We will always dance like this.

Rick January 16th, 2012 at 19:45 Christine: I first saw this image on a wall in a bar whilst out with work friends, I now have a canvas print copy on my living room wall, can stare at it for hours and still see it differntly every time. All of my friends enjoy this picture and i have just bought a copy for my best friend as a wedding gift. Mad dogs is next on my to buy list. :o) May 27th, 2012 at 16:36 This picture brings back so many memories and emotions…truly a great work…..I love your work! January 18th, 2014 at 16:00 Stan Williams: There is a saying “Life is not waiting for the storm to pass, it about learning to dance in th rain” I love this painting Exhibitions — Jack Vettriano Sweet Bird Of Youth Poster Sunshine And Champagne Scorched Heartbreak Gallery in London hosted an exhibition of twenty paintings curated largely from private collections.

BBC coverage Jack Vettriano: A Retrospective September 2013 The first major retrospective exhibition of works by Jack Vettriano opened at Kelvingrove Art Gallery and Museum in Glasgow on 21st September 2013 and ran until 23rd February 2014. This website features only a very small selection of the 101 paintings ranging in date from 1992 to 2012 that are featured in the Retrospective exhibition and which include all of Vettriano’s most famous works gathered in from private collections around the world for the first time. The Ballroom Spy June 2011 Royal West of England Academy, Queen’s Road, Clifton, Bristol BS8 1RX Featuring twenty paintings by Jack Vettriano and over forty gorgeous black and white photographs by Jeanette Jones, The Ballroom Spy showcases the intoxicating and glamorous world of Ballroom dancing. The Family Business Photographer – Fredi Marcarini An exhibition of portraits by Fredi Marcarini. 16th – 26th September 2010 – London.

Days of Wine and Roses September 2010 30th September - 31st October 2010 – Heartbreak , 17 Bulstrode Street, London W1U 2JH Jack Vettriano’s Days of Wine and Roses exhibition has a distinctly continental feel featuring paintings inspired by his visits to Milan and the French Riviera alongside some of his signature darker interiors. Click HERE to watch an interview with Jack Vettriano on this exhibition. Days of Wine and Roses March 2010 27th March - 2nd May 2010 – Kirkcaldy Museum & Art Gallery Jack Vettriano’s Days of Wine and Roses exhibition will have a distinctly continental feel featuring paintings inspired by his visits to Milan and the French Riviera alongside some of his signature darker interiors. First exhibited in his native Fife and then laterally in London. Homage à Tuiga September 2009 On Saturday 19th September, the Yacht Club of Monaco celebrated the centenary of its world famous yacht, Tuiga, built in 1909 by William Fife, a west coast Scottish yacht builder.

An exhibition of paintings by Jack Vettriano, inspired by Tuiga, opened at the Club on the launch night of its annual Classic Yacht Week in September 2009. BBC Coverage Sports Portraits October 2008 19 October - 22 October 2008 – London The five portraits featured by Sir Peter Blake, Rankin, Gerald Scarfe, Stella Vine and Jack Vettriano went on public display at Bonhams, Montpellier Street, London SW7. Tension, Timing, Triumph May 2008 A triptych of paintings entitled, Tension, Timing, Triumph – Monaco 1971 was unveiled by HSH Prince Albert of Monaco at a private reception at the Hotel de Paris in Monaco on Wednesday 21st May 2008. Love, Devotion and Surrender June 2006 June 2006 – France Vettriano had acquired a studio in the South of France during the period in which he was preparing for this exhibition.

Fonetography November 2004 The fonetography exhibition in aid of Mencap was sponsored by Nokia in association with The Times Magazine and included photographs taken by Damon Albarn, David Bailey, Sir Peter Blake, Tracey Emin, Nan Goldin and Jack Vettriano. The contributors were each given a Nokia 7610 camera phone with which to take their photographs and their brief was simply to ‘capture the moment’. Affairs of the Heart June 2004 19 June - 31 July 2004 – London Affairs of the Heart - London's Portland Gallery on 19 June to 31st August 2004. His first show for four years. The International Art & Design Fair September 2001 This exhibition was held at the 7th Regiment Armory, Park Avenue at 67th Street, New York City, USA, 29th September to 2nd October 2001. Lovers and Other Strangers June 2000 – London Lovers and Other Strangers, Portland Gallery, London.

Between Darkness and Dawn June 1998 June 1998 (10 June – 10 July 1998) This exhibition featured the painting Dance Me To The End Of Love, one of Vettriano’s best known works. Half Way to Paradise November 1996 – Hong Kong. Held at the Museum Annex. The Bluebird Collection June 1996 June 1996 – Private Collection These seven paintings were inspired by the life and achievements of Sir Malcolm Campbell, who gained the world land speed record at various times during the 1920′s and 1930′s. The paintings were originally commissioned by Sir Terence Conran for his Bluebird Club in London. A limited edition boxed-set of the seven Bluebird images was released on 3rd September 2010 to mark the 75th anniversary of Malcolm Campbell’s final World Land Speed record broken at Bonneville in 1935.

The Passion and the Pain May 1996 27 May - 15 June 1996 – London A total of 51 new Vettriano paintings were exhibited at the Portland Gallery including The Road to Nowhere and The Red Room. A Date with Fate August 1995 An exhibition of new paintings at 37 Heriot Row, Edinburgh during the Edinburgh International Festival August 17 to August 27 Chimes at Midnight October 1994 October 1994 – London This exhibition featured the painting The Billy Boys, one of Vettriano’s best known works and was held at The Portland Gallery in London. Summers Remembered November 1993 Summers Remembered – an exhibition of oil paintings by Jack Vettriano, Corrymella Scott Gallery, 12th Nov – 3rd Dec 1993. Fallen Angels May 1993 May 1993 – London This was Vettriano’s second exhibition in London and his first with The Catto Gallery.

God’s Children October 1992 2 October - 11 October 1992 – London This was Vettriano’s first exhibition in London and featured The Singing Butler, his best known painting. God's Children [October 1992] Archives — Jack Vettriano The Singing Butler 5″ x 7″ Greeting Card | blank inside | comes with white envelope & cello bag The Singing Butler is one of over twenty classic and new images by Scottish artist, Jack Vettriano, to be published by Heartbreak Publishing as part of their new range of greeting cards, which has been specially formatted for the US market. The new range of Vettriano USA cards are to be launched at the National Stationery Show in New York in May 2012. Click HERE to read commentary about The Singing Butler by Richard Demarco.

Question: Which artist painted 'The Singing Butler' in 1992?
Answer: Jack Vettriano